Três Cores: Azul
Três Cores: Azul

Três Cores: Azul

Trois couleurs: Bleu

Áudio e legendas

Versão original com legendas em português



Ano de produção




Estreia no cinema


Sobre o filme

Após a morte do seu marido Patrice, um grande compositor, e da sua filha Anna, num acidente de viação, Julie decide começar uma nova vida, anónima e independente, livre de quaisquer compromissos, sentimento de pertença ou amor. Olivier, o assistente de Patrice, apaixonado por Julie, tenta sair do isolamento em que vive, após terminar o trabalho inacabado de Patrice, o marido de Julie.


Krzysztof Kieslowski

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Como avalias este filme?

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"Trois Couleurs: Bleu," the first installment in Krzysztof Kieslowski's trilogy inspired by the French tricolor, falls short of the mystical perfection that characterized "The Decalogue," but boasts a riveting central performance by a carefully controlled, lovingly lit Juliette Binoche. ... Dramatic tale of a woman who streamlines her life after surviving the accident that kills her young daughter and composer husband retains traces of the puzzle-piece serendipity that distinguishes helmer's most captivating work. But in this outing (as, to a lesser extent, in "The Double Life of Veronique") Kieslowski's French characters are watered-down icons compared to their Polish counterparts. Like Wim Wenders with "Far Away, So Close," Kieslowski (along with co-scripter Krzysztof Piesiewicz and other credited hands including Agnieszka Holland) seems to be grappling witha diluted variation on his own greatest moments and insights, suggesting, as does Wenders, that all you need is love. Post-accident, bereaved but businesslike Julie (Binoche) is determined to live anonymously and do "absolutely nothing," but when someone touches an emotional nerve in her, the screen literally goes blank and snippets of powerful music surge forth. It's a risky but effective device for blowing Julie's facade of indifference. "

Lisa Nesselson de Variety


"There is a kind of movie in which the characters are not thinking about anything. They are simply the instruments of the plot ... And another kind of movie in which we lean forward in our seats, trying to penetrate the mystery of characters who are obviously thinking a great deal. "Blue" is the second kind of film: The story of a woman whose husband dies, and who deals with that fact in unpredictable ways."

Roger Ebert de Chicago Sun Times